This Hideous Replica

23 Aug — 16 Nov 2024
RMIT Gallery, 344 Swanston St. Melbourne

Lifting its title from a misheard line in a 1980 song by The Fall about a reclusive dog breeder whose ‘hideous replica’ haunts industrial Manchester, this experimental project—an admixture of artworks, performances, screenings, workshops, a ‘replica school’ and other uncanny encounters—adopts monstrous replication as a tactic, condition and curatorial framework for exploring algorithmic culture, simultaneously alienating, seductive and out-of-control.
Exhibition includes works by Amy May Stuart, Angie Waller, Anna Vasof, Debris Facility, Diego Ramirez, Emile Zile, Joshua Citarella, Liang Luscombe, Loren Adams, Masato Takasaka, Matthew Griffin & Heath Franco and Mo Chu.
Performances, talks and workshops by Catherine Ryan, Chloe Sobek, Jennifer Walshe, Joel Sherwood Spring, Machine Listening, McKenzie Wark, Roslyn Helper, Tomomi Adachi and more.

Curated by Joel Stern and Sean Dockray.
This Hideous Replica has been produced by RMIT Culture and supported by the ARC Centre of Excellence for Automated Decision-Making and Society (ADM+S) and the RMIT Design and Creative Practice Enabling Impact Platforms. This project is a part of the City of Melbourne’s Now or Never festival. This project has been assisted by the Australian Government through Creative Australia, its principal arts investment and advisory body and by the Victorian Government through Creative Victoria.

Image: Mochu, GROTESKKBASILISKK! MINERAL MIXTAPE, 2022, digital video (still), Image courtesy of the artist.

Philip Brophy — Screenic: Politicised Writings on Being Screened

Philip Brophy
Screenic: Politicised Writings on Being Screened
290 pages, softcover, 110 × 180 mm
Edition of 700
ISBN 978-1-7635372-1-7
http://www.discipline.net.au

Discipline is pleased to announce its latest title, Screenic: Politicised Writings on Being Screened—an anthology of Philip Brophy’s writing on art over the last twenty-five years. The focus of the selection is on art that involves screens: projected as film in museums, digitised for installations in galleries, curated as documents within exhibitions, presented as outdoor illuminations on buildings, utilised for the production of VR and AI-generated content, and even wall murals derived from televisual screens. The driver for the writing of these articles is an interest in media literacy within fine art contexts. Together, the articles reinforce the view that ongoing changes taking place in the mediascape over the last two decades create challenges for artists, producers, curators, viewers, and critics—sometimes resulting in a rejuvenation of how media art can be imagined and presented, other times evidencing an anaemic grasp of the contemporary mediascape that whorls outside the white cube.

Screenic has been designed by James Vinciguerra and Duncan Blachford, and printed in Narrm/Melbourne by Documents on Call. It features a preface by Helen Hughes, an introduction by Emile Zile, and has been edited by Olga Bennett.

ACMI Gallery 5 commission ‘We Are As Gods’

ACMI Gallery 5 – We Are As Gods
We Are as Gods explores the informal, spontaneous commentary that accompanies cooperative videogame streaming. Through a series of portraits of gamers in the act of live streaming, we hear dialogue that is simultaneously directed at the players themselves, at a remote audience, at a rival player of the game and at anonymous third parties. Using longform recording, stream of consciousness rants and animation, We Are As Gods seeks to find the human in the network, the flesh in the data packet.

Work commissioned through Gallery 5 will enter the ACMI collection.

Many thanks to Senior Curator Fiona Trigg for her focus and patience and Jini Maxwell, Isabella Hone-Saunders at Australian Centre for the Moving Image, Visual FX don Henry Lai-Pyne for being the best in the game, Web maestro Simon Lofler for the clickable NPC streaming interactivity, Flood Slicer for the green screen studio and all Mountain Dew drinkers out there preparing to raid.

Showing now online at ACMI; https://www.acmi.net.au/whats-on/emile-zile-we-are-as-gods/

Third Year PhD Milestone complete

Entering the final stretch of my practice-based PhD at Digital Ethnography Research Center RMIT. Presentation to outside assessor occurred on 5 July 2021, no revisions required.

Next steps;
– Revise and rewrite chapters on public performance works ‘4500 Lumens’, ‘Audience / Performer / Lens (after Dan Graham)’, ‘Becoming The Icon’
– Write concluding chapter and refine introduction chapter
– Confirm public screening and talk in late 2021 at ACMI Cinemas

Panel discussion for Bleed at Australian Performing Arts Market 2020

Panel discussion with Amrita Hepi and Angela Goh on the networked body, new intimacies, post-Isolation psychologies and the what it means to make digital art.

https://apam.org.au/event/local-player-arts-house/

Listen to Arts House Artistic Director Emily Sexton in a panel discussion with artists Amrita Hepi, Angela Goh and Emile Zile on new practices that focus on the intersection between live and digital forms, and what this can mean for new partnerships, touring and residency approaches. What is the live experience in a contemporary world where the relationship between on- and offline is totally blurred? How is performance reckoning with the rise of the Golden Age of streaming television? How is the intimacy of watching performance in a dark room with strangers shifting?
BLEED Echo is a public program responding to and ricocheting from the five artist projects and curatorial conversations of BLEED.

My work with Lilian Stiner ‘Becoming The Icon’ will premiere at Bleed in August 2020.
Check bleedonline.net for more info.

performance Modern Art Oxford

This Image is No Longer Available is a one-day event presenting a set of artist works, live-streamed performances, screenings and an open talks programme from researchers, artists, curators and visitors to discuss digital space and online presence. It is the culmination of our Activating our Archives project and is supported by the Digital Artist Residency.

Feat. Zarina Muhammad @zrnmhmmd and Akash Chohan, Mishka Henner @mishkahenner, Emile Zile @emilezile, Tom Milnes @tommilnes, Kathryn Eccles (Oxford Internet Institute) @oiioxford, Hermonie Spriggs (UCL Multimedia Anthropology Lab) @ucl_mal, Elliott Burns (Off Site Project) @offsiteproject1989, Digital Artist Residency (DAR), Sunil Shah @sunilphoto and Activating our Archives participants.

[…] 13.00 – 14.00 Live streamed performance from Australia by artist Emile Zile

Saturday, 27 April 2019 from 11:00-16:00

PhD at Digital Ethnography Research Centre

I’m pleased to announce in February I will be embarking on PhD study at the Digital Ethnography Research Centre (DERC), Royal Melbourne Institute of Technology, Australia.

A 3.5 year practice-based research period to study lens-based performance on video sharing networks, gesture and interface online and the influence of algorithmic cultures on the social body.

The support offered by a Design and Creative Practice ECP scholarship for the duration of the study will greatly support my practical outcomes, including new performance work, large-scale film making projects and exhibitions.

My research blog camerashy.video is now online and serves as a public platform for outcomes related to the PhD.

DERC focuses on understanding a contemporary world where digital and mobile technologies are increasingly inextricable from the environments and relationships in which everyday life plays out.

DERC excels in both academic scholarship and in our applied work with external partners from industry and other sectors.

DERC approaches this world and how we experience it through innovative, reflexive and ethical ethnographic approaches, developed through anthropology, media and cultural studies, design, arts and documentary practice and games research.

Our research is incisive, interventional and internationally leading. Going beyond the call of pure academia we combine academic scholarship with applied practice to produce research, analysis and dissemination projects that are innovative and based on ethnographic insights.

DERC partners and collaborates with a range of institutions in Australia and globally, including other universities, companies and other organisations. This includes collaborative research projects, conferences, symposia and workshops, and international visits, fellowships and publications.

The Digital Ethnography Research Centre (DERC) was established in December 2012 by Larissa Hjorth and Heather Horst with the aim of consolidating and further developing RMIT’s strength in international digital innovation. The Centre is now Directed by Sarah Pink who will be taking it into its second stage of development from 2016.

DERC members are aligned into Labs to represent their research interests, DERC Labs include:

Data Ethnographies Lab
Design+Ethnography+Futures (D+E+F) Lab
Bio Inspired Digital Sensing-Lab (BIDS-Lab)
Digital Transformations Lab
Visual Impact
Migration and Digital Media Lab

All those moments will be lost like tears in the rain

The artists Sarah Burger and Ceel Mogami de Haas are initiating an audio exhibition in relation to their ongoing project Tu’i Malila based on their common interest in the film Blade Runner by Ridley Scott (1982). For the occasion of this procuration at the Médiathèque they relate their research to the polymorphic work of Chris Marker as it is collected in the Fonds Christophe Chazalon at FMAC and invite eight artists to question, redistribute, and interpret it. The exhibition is introduced by Terence Broad’s video work Blade Runner – Autoencoded

Artists:
Sarah Burger, Matthias Gabi, Ana María Gómez Lopez, Alexis Guillier & Méryll Ampe, Arvo Leo, Ceel Mogami de Haas & Mathieu Arbez-Hermoso, Lena Maria Thüring, Emile Zile

With the support of
Ernst und Olga Gubler-Hablützel Stiftung, Fondation Leenards, ProHelvetia, Fondation suisse pour la culture

Médiathèque
Fonds d’art contemporain de la Ville de Genève (FMAC)
Rue des Bains 34
1205 Genève
Switzerland

Ouverture du mardi au samedi de 11h à 18h, ou sur rendez-vous
Ouvert pendant les fêtes du 26 au 30 décembre 2017
T +41 22 418 45 40
www.ville-geneve.ch/fmac-mediatheque
www.ssoabs.ch

Emile Zile and Philip Brophy in conversation

Join Emile Zile and Philip Brophy for a conversational and unmoderated exchange as they select, screen and discuss each other’s video work. Both artists move horizontally between visual art, filmmaking and performance, working beyond the confines of strict categorisation. Their methods and tools are post-cinematic: scavenging and re-presenting the moving image material that surrounds them.

11 September 2017, 6.30pm
Free entry, bookings requested

Australian Centre for the Moving Image, Federation Square Melbourne

https://www.acmi.net.au/events/emile-zile-and-philip-brophy/